Tôi, Frankenstein, I, Frankenstein 2014Tôi, Frankenstein – I, Frankenstein là một bộ phim hành động giả tưởng Mỷ của đạo diễn Stuart Baettie dựa trên cuốn tiểu thuyết của Kevin Grevioux. Hai thế kỷ sau khi tiến sĩ Frankenstein lắp ráp và tạo ra nguồn sức mạnh mới cho thuộc hạ của mình – Adam (Aaron Eckhart). Ông bị lôi kéo vào một cuộc chiến tranh giữa hai chủng tộc bất tử Nhân sư, những người bảo vệ những nét tinh hoa của nhân loại và ác quỷ. Kể từ khi Adam không còn là con người hay quỷ, nữ hoàng Leonore (Miranda Otto) và hoàng tử quỷ Naberius (Bill Nighy), mỗi người muốn anh ta phục vụ cho mục đích riêng của họ. Đó cũng chính là lý do để Adam khám phá con người bên trong và đi tìm câu trả lời cho mục đích tồn tại của mình
Shelley’s novel,Frankenstein or, the Modern Prometheus(1818), is a combination of Gothichorror storyandscience fiction. The book tells the story of Victor Frankenstein, a Swiss student of natural science who creates an artificial man from pieces ofcorpsesand brings his creature to life. Though it initially seeks affection, the monster inspires loathing in everyone who meets it. Lonely and miserable, the monster turns upon its creator, who eventually loses his life.
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Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness. He found that people were afraid of him and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there and discreetly collected firewood for them, cleared snow away from their path, and performed other tasks to help them. Secretly living next to the cottage for months, the Creature learned to speak by listening to them and taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his appearance was hideous, and it horrified him as much as it horrified normal humans. As he continued to learn of the familys plight, he grew increasingly attached to them, and eventually he approached the family in hopes of becoming their friend, entering the house while only the blind father was present. The two conversed, but on the return of the others, the rest of them were frightened. The blind mans son attacked him and the Creature fled the house. The next day, the family left their home out of fear that he would return. The Creature was enraged by the way he was treated and gave up hope of ever being accepted by humans. Although he hated his creator for abandoning him, he decided to travel toGenevato find him because he believed that Victor was the only person with a responsibility to help him. On the journey, he rescued a child who had fallen into a river, but her father, believing that the Creature intended to harm them, shot him in the shoulder. The Creature then swore revenge against all humans. He travelled to Geneva using details from Victors journal, murdered William, and framed Justine for the crime.
Son of Frankenstein
Usually the third film in a series shows signs of decline either in quality or inventiveness. Even the third Godfather was significantly less than its predecessors. Universals Frankenstein series that began in the early 1930s was no exception and showed some wear by the end of the decade when Son of Frankenstein was released. Under the sensitive direction of James Whale, the original Frankenstein was a classic, and, in the first sequel, Bride of Frankenstein, Whale even managed to better it. However, while Whale was not involved with Son, the third installment turned out to be a surprisingly good movie even if it failed to match the two preceding films. Perhaps the major reason for the success of Son was the casting of Basil Rathbone as Wolf Frankenstein, the original Barons son. Rathbone is a fine strong actor, and his characterization certainly exceeds Colin Clives somewhat colorless portrayal of his father in the preceding films. Rathbone holds the viewers attention throughout as he becomes immersed in the legacy of his father and fails to comprehend the consequences of what he is doing. Boris Karloff returns for a third time as the monster. Although he does a fine job, there is less opportunity for the actor to show the range of emotion in this film that he displayed in Bride. Another aspect of Son that raises it above the ordinary is the set and lighting design, which owes a debt to German expressionism. The sets have bold diagonals in their construction, and the cameraman has lit them to cast equally bold shadows against bare walls and create abstract patterns that often recall The Cabinet of Dr. Caligari. The lighting and design of one particular section of a cave under the Frankenstein laboratory could have been blown up and framed as an expressionist photograph. Although it does not reach the heights of the Whale films, Son of Frankenstein is a worthy successor and an engrossing film in its own right.